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}'ourag.:?" UncJe Max was as!ounded: "Bu! I have!o, ['rna collector, Ifl stop buying things, I'm no longer a collector." ' Induded in this book is a snies ofleuers purporting to have been wrinen by a gentleman in Henrie!ta Town (an early name for POliS Poin!)!o his nephew in Europe in the 18305. These aff: signed 'G. Drysdale' or 'UndeTassy' and aff: indeed th" work of Sir Russell Drysdale. They give the impr"ssion that a good deal of " 'ine was drunk around Henricua Town in those days and !hat Unde Tassy spen! many nigh!s conve}'ingdrunkcn fn"nds home by horse cab, though he himselfr"mainedsober. A dnzen 01"$0 ponrai! sketches in pen-and-ink by Drysdal" and his channing and funny dust-cover give this book a special and uniqu" f1a"our.D Elizabeth Rid&1l befort': ('Heron Island Poems', Q""dra1l/, April ]978). Ther"" however, they were rather poorly rcproduc"d . Her"' , the association was doscr (!he poemsweff: pinned around th" walls of the studio) and Ihe published ...,sults somewhat mo...,("licitous Collabora!ions belween writers and artists ar" pregnam with conflict . Both text and illustrations mus! have a separate inlegrity but alsomustin!errelale, withn",ither prt':-eminem. l nEa..tll~oldtheeffcet achieved isofadehcale equipoise belwcen th", poetry and the thirteen auendan! full·page illustrations. Since h", accompanied naturalist , Vincem Servemy, on a number of expeditions \0 Lake Eyre, Olsen's work has been inform"d bya STeater awareneS$ of nora and wildlife. With !heexcep!ionofa Port.al/ oj8,t/l Wlli/t/t}, executed r",cently for !he Print Council of Australia, all prints, including hiscomemporary ,,'ork with maSler-prin!er Fred Gcnis, have featured motifs fromna!ure. Natural forms have, ofcoune, always been pr"sen! in Olsen'~ art. SeaguHsand Dubuffe!-like beinS" all anoat in Entra1lCt/o/"tsi,mdty tlj /ht ,at "Ut for example. Howevcr, these individual featurt':s, while discernible, were dements of larger ensembles, sacrificed as it were!o the eMigenci"sofgeneraling effec!s more all-pervasive. The focus of the prints isofa D .... VID ........ LLEN (1979) Oi!oo~a.dboa/c CHOQKSER!ES 5! cm~51 em RayH~~es,B.isbaoe more particular character, the images having !xcn bleached of extrancousdetail. This easier reading ofthegraphicma!erialconlinues with IheEarth Ho/dsuit"" A couple of humans make a &,tJr Hq/d by Jennifn J . Rankin, illustrated by John Olsen (Secker& Warburg, London, 1978, SBN 436 «l3102)£9.75. Since 1974,JohnOlsenhasproduced a subs!amial and important body of primed works. While paiminghascominuedapaee, it is po:rhap, in prims thaI the mor'" inu';resting devdopmen!s are taking phoce in Olsen's an. Some of his recent work was ",xC<":m",d for and is seen 10 good effect in this anrae!i"dy produced book of J ennifer Rankin'lpoe!ry. TwoOlilen illu.trations ha"", accompanied a num!xrofher works 328 shaky appearance but generally it isfaunat hatho:repredominatcs Dingoes, imperiouscrancs,a beautifully summarized owl with particularly predatory claws and, in the most powerful image, a monalIywounded snake, 'the black nerve is broken', s!il! coils dynamically. An aUenua!ed, rather too spare landscapo:probablymakes!he weakest impact. As eMemplif,ed by Ea.th Hold Olsen sees book illustration and prims as a means of establishing more intimate rappon with the viewer- hereauisled grea!lyby Jennifer Rankin's gracious writing, The temper of the times now > (Co~ti~lUd opposi/t fJllgt) that the Howard 1'linlOn Collection wdl deserves to be regarded as an essential part of our cultural heritage . It also reveals that Hinton 's vision of Australian art was not unbiased. Norman Lindsay, writing in H()Wllrd Hinton, Patron ()f A,t (the source of Bruce Adams's catalogue introduction), called the Hmton Collection 'the only complete collection of Australian art in this count ry'. HinlOn himself claimed 10 show 'the development .of Australian art from 1880 onwards'. This is not true. The Hmton Collection is, however, a complete survey of Sydney art, as seen through the eyes of the moderate Sydney art establishment, f~om the early 1890s to the 19405. Moderate rather than <::onservattve because, although some works were purchased by artist~ associated with the Royal Art Society, the majority came f~m armts :-"ho exhibited with the slightly more adventurous SocIety of A~\tsts. Melbourne artists are poorly represented, although Iher~ ts. a splendid Wagnerian Napier Waller and t.wo small b~t s!gntfica.nt works by Walter Withers. Those Austrahan moderntsts who \TIed to es<::ape from decorative preoccupations .are not represente~ al all. Those artists whom Hinton included in hiS canon of Austrahan art are shown by some of their best works. Howard Hinton <::ame to Australia as a young man in 1892 and soon became intimatdy involved with the artists living in camps around Sydney Harbour, so it is no coind.dence that !.he paintings by Sydney-based Impressionis~s are eastly the best tn. the collection. The brilliant colour and studtcd sharp, casual, detatl of Tom Roberts's M()rmun's BIlY has understandably been adopted for the exhibition poster. It is a magnificent work, but its exile in Armidale and its intimate qualities have made it rather lesser known than Roberts's more heroic subjects. Arthur Streeton's McMahon's Point, painted in 1890 shortly after he arrived in Sydney, shows that delightful fresh quality of Streeton at his best, totally different from the smugness that marred his later years. Sydney Long is shown in the exhibition by one of his less interesting etchings, Midday, and a painting, Shtphmuss - a small masterpiC{:e, which in its stage-like composition and illu.sion ~f shallow space reflects other more decorative works of thIS penod. Some of the most surprisingly beautiful works in the Hinton Colle<::tion are the watercolours. Blamire Young's monumental explorers is balanced by Tht; diutr, an exquis.ite)ewel of a pain,ting in tones of brilliant blue. The two small palntLngS by J. J . HLlder serve as a reminder that Hinton was one of the early patrons of this lyrically beautiful but sl ight artist. B. E. Minns is seen here with an almost Art 1)«0 subject in his fanciful Talt; of [OUt;, The Lindsay family is represented in the Hinton Collection by four of the brothers but, unfortunately, the exhibition shows works by only twO of them. Norman Lindsay is shown here with a sensitive drawing of a head and a watercolour, Belshtuzar, which shows his preoccupation with sexual opulence and o riental fantasy. This is a moderately unusual painting for Lindsay in that the degenerate Mesopotamian is shown surrounded by subservient h.ouries. Usually, Norman Lindsay's women are more dominant. . Percy Lindsay, one of those pleasant minor artists whose best work was acquired by Hinton, is also seen in this exhibition . Tilt slo,t, Lowtr Ku.rrajong is a New South Wales subject which clearly shows Percy Lindsay's debt to Walter Withers. Unfortunately, this exhibition shows nothing of Lionel Lindsay. In part, this lack of representation is because of the poor state of the collection but, as Lionel Lindsay was so widdy collected by Hinton as well as being, perhaps, Australia's finest printmaker it would have been worth while to include at least one of his etchin!':s.